Auxiliary keyboard



Oct. 18, 1932. s. TOFE Y BONlLLA AUXILIARY KEYBOARD 5 Sheets-Sheet 1 Filed Dec. 16, 1929 um 08H oa m m 9+ pm i S. 8 8 g 3 S 2 ATTORNEYS INVENT rwmvmma id M 0 u on o um U 3 oct- 1932- s. TOFE Y BONlLLA AUXILIARY KEYBOARD Filed Dec. 16, 1929 5 Sheets-Sheet 2 ATTORNEYS s. ToFE Y BONILLA AUXILIARY KEYBOARD Oct. 18, 1932.

Filed Dec. 16, 1929 l mmma- I 5 Sheets-Sheet 3 ATTORNEYS Oct. 18, 1932. s. TOFE Y BONILLA AUXILIARY KEYBOARD Filed Dec. 16, 1929 5 Sheets-Sheet 4 A2; I 6 @gfg.5- 10 19 Oct. 18, 1932 s. TOFE. Y BONILLA AUXILIARY KEYBOARD Filed Dec. 16 1929 5 Sheets-Sheet IkmQu iFrXim d m 0 m N xkzmwkm W N b m ATTORNEYS m m m wkQZ A A an Patented Oct. 18, 1932 PATENT OFFICE SATURNINO TOFE Y BONILLA, F GIMILEO, SPAIN AUXILIARY KEYBOARD Application filed December 16, 1929. Serial No. 414,253.

My invention relates to a new and improved keyboard for a musical instrument.

One of the objects of my invention is to provide a simple system of musical notation :I which shall eliminate the use of the staff.

Another object of my invention is to provide a system of musical notation which shall eliminate the necessity of using special markings, such as sharps, and flats, to designate minor intervals and augmented intervals.

Another object of my invention is to provide a system of musical notation which shall be especially suitable for playing the piano, the organ, the harmonium, and other keyboard instruments, wherein the notes to be played with one hand shall be on one side of a reference line, and the notes to be played with the other hand shall be located on the other side of said reference line.

Another object of my invention is to provide a system of musical notation whereby the various types of intervals can be indicated by suitable marking or markings, so as to make it more .easy to learn how to play a keyboard instrument, and to also make 1t possible for a person having limited musical knowledge to play difiicult pieces on a keyboard instrument.

Another object of my invention is to provide a simple and efiicient apparatus which makes it possible to practically utilize said system.

Another object of my invention is to provide an auxiliary system of master keys for the keyboard of a musical instrument whereby the major chords and minor chords corresponding to each note can be struck or sounded with the use of one finger.

Another object of my invention is to provide a construction for an organ or harmonium embodying said master keys, so as to make it very easy for a person of limited musical education to play ordinary church music.

Other objects of my invention will be set forth in the following description and drawings which illustrate a preferred embodiment thereof, it being understood that the above general statement of the objects of my invention is intended to generally explain the same 0 and not to limit it in any manner.

Fig. 1 is a plan View showing the improved auxiliary keyboard and a number of piano keys as well as top connections between the keyboard and the piano keys.

Fig. 2 is a sectional view on the line 2-2 5a of Fig. 1.

F 8 is a plan view showing the bottom connections between the auxiliary keyboard and the piano keys.

Fig. l is a sectional view on the line H 60 of Fig. 3.

F ig. 5 is a detail plan view showing how the top members of the hammer levers are actuated by the auxiliary keyboard.

Fig. 6 is a sectional view on the line 6-6 of Fig. 5.

Fig. 7 is a View similar to Fig. 5 showing how a different combination of notes is pro duced.

Fig. 8 is a sectional view on the line 8-8 of Fig. 7.

Fig. 9 is a view similar to Fig. 5 showing how a third combination of notes is produced.

Fig. 10 is a sectional View on the line 1010 of Fig. 9.

Fig. 11 is a View similar to Fig. 5 'show= ing how a fourth combination of notes is. produced.

Fig. 12 is a sectional View on the line 12 12 of Fig. 11.

Fig. 13 is a perspective View showing how a master or auxiliary key produces a combination of notes. Fig. 13 illustrates a bottom master key.

Fig. 14 is a View similar to Fig. 13, showing a master key in a bottom tier.

Fig. 15 is a view showing a master key in a top tier.

F ig. 16 is a diagrammatic View showing g0 how ordinary musical symbols are translated into the simple number of symbols employed in my system.

Fig. 17 indicates the auxiliary designations for indicating the time value or measgs ure of a note.

Heretofore the ordinary system of musical notation included a staff, several intervals whose notes were given different names, and sharps and flats were utilized to designate the raising and lowering of a note by a half tone.

Likewise, the musical scale heretofore used consisted of octaves which was divided into twelve half tones in order to secure the chromatic scale. According to my system, each half tone of each octave is given a consecutive number, beginning with Zero so that each octave would have twelve consecutive numbers. These numbers are repeated to designate the tones of the octaves of respectively higher and lower pitch. While I do not exclude the use of a system in which the numbers from Zero to eleven are utilized to designate the twelve half tones of a chromatic scale, I prefer to divide each chromatic scale into two halves. Each half will have six notes designated by the numbers Zero, one, two, three, four and five.

The division of each chromatic scale into two halves, each of which has six designating numbers, makes it more easy to write and to read the music and in addition, this system facilitates the playing of a harmonium or other keyboard instrument, such as pianos and organs. Since the novel musical system comprises consecutive series, and each series includes the numbers 0-5 inclusive, each series corresponds to the lingers of the hand, except the zero, which can be played either with the thumb or the first finger. Likewise, the division of each chromatic scale into two halves, each of which has six notes, facilitates the playing of a musical instrument having a keyboard.

All complete tones or intervals of music are composed of two half tones. An interval which comprises an even number of half tones includes one complete tone, or a plurality of such complete tones. An interval which comprises an odd number of half tones includes one or more complete tones or intervals, plus a'half tone. The problem of reading tones or intervals is facilitated according to my novel system, because when a musical interval, according to my imoroved system, starts with an even number and ends with an even number, this means that the interval includes one or a plurality of full tones or intervals. lVhen a musical interval according to my improved s stem, starts with an even number and ends with an odd number, or vice versa, this indicates that the interval comprises a half tone and one or a plurality of whole tones.

For exam ile and referring particularly to Fig. 16, the interval corresponding from the note designated by Zero to the number designated by 41, includes two complete intervals or tones, or four half intervals or tones. The interval corresponding from the note designated by 1 to the note designated byv dincludes three half tones or intervals, or one full tone or interval, plus one half tone. The interval between the note designated by zero to the note designated by 5 includes live half tones or two tones plus a half tone. The interval between the note designated by one to the note designated by 2 is a half tone.

Referring again to Fig. 16, it can be seen how each octave is divided into two equal. se ries, each said series having siX half tones and each said series being represented by the consecutive numbers 05 inclusive.

In order to easily count the half tones between a note designated by one number, and a note designated by another number, it is necessary to remember the following:-

a. The interval from one even number to another even number includes only a full tone or tones.

b. The interval from an even number to an odd number, or from an odd number to an even number is either a half tone, or one or more full tones, plus a half tone.

0. The interval from one number to same number, immediately preceding or following the first mentioned number, in the consecutive series shown in Fig. 16, is always six half tones or three full tones. For example, the interval between the note designat ed by 1 to 1 in Fig. 16, is six half tones or three full tones.

d. It will be noted in Fig. 16 that the various numbers have additional or auxiliary designating marks at the left thereof. It will also be noted that some of the numbers have an odd number of such auxiliary designating marks in front of them such as 1 or 1. v

the

itwill also be noted that some of these numbers have an even number of auxiliary designating marks in front of them, such as 1 or :1. The interval between two equal numbers, having an even number of auxiliary designating marks, is always an octave consisting of twelve half tones, Likewise, the interval between a number having an odd number of auxiliary designating marks, and the same number having an odd number of different auxiliary designating marks, is also an octave comprising twelve half tones.

A little experience will readily enable the player to properly place the respective numbers in their proper scales so as to determine their sequence in the series, part of which designated in Fig. 16.

For example, the interval between =1 to 5 is four half tones. The interval from 1 to -d is three half tones or a full tone, plus a half tone. From 3 to 3 or to 3, the interval is six half tones or three full tones. From 0 to 0, there are twelve half tones or an oetave. From =2 to 2, the interval is an octave, and the interval between =2 to :2 for two octaves. The interval from O to O is an octave and the interval from 0 to 'O is an octave and a half, because '0 has an odd number of auxiliary designating marks.

This system of musical notation can be extended to any number of octaves by increas- Ill) ing the number of dashes, commas, or other designating marks shown in Fig. 16 as being in front of the respective numbers.

The improved system of musical notation does not require the use of staffs or keys. Neither does it require the use of flats or sharps to indicate the major or minor tone. This is because the notes corresponding to flats and sharps have their corresponding numbers.

In writing music for the piano and for the organ, the staff disappears and only a single horizontal reference line is rcc uirl. The notation for the playing of the rip hand may appear on one side of this line as for example, on top thereof, and the notation for the left hand can appear on the other side of this horizontal reference line.

The major (lllllCllltlGS in reading and play ing music having been thus removed, is only necessary to additionally designate the time value or measure, such as full note, half note, quarter note, sixteenth note, thirty-second note, and sixty-fourth note.

Another additional feature of my system is that it eliminates the great difficulty of understanding the technical terms used to es:- press the various intervals, such as m or tone, minor tone, augmented third, diminished seventh, their inversions, etc.

According to my improved numerical system, it is only necessary to consider the points or intervals and the half notes or half intervals between one note and another.

- This greatly facilitates the study of composition and harmony. In studying and un dcrstanding music, it is necessary that melody and harmony should complement each other.

According to my improved numerical tem, harmony is greatly simplified because the intervals are counted according to the rules already given.

For example, instead of calling the interbal between fa and si, a fourth, as is done in existing systems of musical notation, in my improved numerical system, I only count intervals and half intervals. By counting the difference between one note and another, it is possible to immediately determine its inver sion, its dominant or sub-dominant note, etc. and the consonant or dissonant chord which can be formed therefrom according to cer tain rules. If a player wishes to find the fundamental chords or harmonics, he can do so by applying the following general rule The note or numerical designation which is at the end of a composition is usually the tonic note. In order to secure the tonic note with reater certainty, it is better to consider the hnal note in the accompaniment. As soon as this tonic note and the corresponding number therefor has been determined, then the tonic chord for the major notes is formed as follows The number corresponding to the tonic note is the bass note of the chord. Counting four more numbers or half tones gives the second note of the chord, and counting up another third or half tones gives the third note of the chord. These three notes or nunibers are what is called in music, tonic note, the third and fifth. The note ending this chord is the tonic note of the dominant chord. The dominant chord is formed by beginnin with tl s note and exactly following the prelule which has been stated to form the tonic chord.

The sub-dominant chord is formed in the same way by beginning two half tones or notes lower than the last high note of the tonic chord. In this way I can form all the harmonics or chords of the major keys. ln order to form the fundamental chords of a composition written in a minor key, I start from the last note ending the musical composition, as this is the tonic note. The sec ond number or note of the chord is three numbers or three half tones higher, and the third number or note of the chord is four points higher than the second. Starting from this third note or number, the dominant chord is formed in exactly the same way as has been previously explained. The subdominant chord in a minor key composition begins two numbers lower than the high note of the tonic chord and it is formed by fol low ng the rule used to form the tonic chord in the minor key. In order to know when to use the chords in a composition in a major key or in a minor key, it is necessary to apply cer Jain rules.

The last note of a musical composition or better still, the final note of the bass, is the tonic note, or the note that indicates the key of the composition. If the composition has no numbers which are three points lower or which. are nine points higher than the final lowest note of the bass in the accompaniment the composition has been written in the major key. the other hand, if several of such numbers are found, the composition is written in the minor key.

Some compositions begin in a minor 3 and end in a major key. This can be recog nized if there are numbers. The last measures one point lower or four points higher than the last note of the composition. 1 en the chords of the major key will be ta ien from the measures in which these num appca r. In the first part of the composition, chords will be used in the same key using the minor key. in practice, this system can be simply and effectively applied for vocal music, as well as for melody and harmony and especially in playing keyboard instruments, such as the piano, the organ, and the harmonium.

I claim that my system is pioneer in that it completely provides for musical notation ing the main keys, the play by means of numbers. Although a system has been previously used for vocal music in which seven numbers represent toe seven natural notes of the scale, this cannot be used for the accompaniment. On the contrary, the accompaniment must be written with the conventional symbols to indicate the half notes in the clef, as well as in the composi tion or to change the treble clef for singing in difierent keys.

In order to apply this system for playing a keyboard instrument, such a piano, an organ, or harmonium, which will facilitate playing by musicians as well as by laymen, I provide a keyboard instrument with an auxiliary keyboard having a series of master keys. The original or main keyboard of such an instrument enables the playing of a succcssion of chromatic scales. By directly as can produce any desired chords. Each master key causes the operation of any desired combination of the main keys, to produce any desired chord. Each main key preferably has a pair o1 aura iliary or master keys associated and aligned therewith, to actuate said main key, and other main keys, to produce the corresponding major or minor dominant chord.

The auxiliary keyboard is located behind and above the main keyboard. Hence, a p arson who does not know harmony can follow any composition that he may know by ear for example, by applying the following rule. He will look on the main keyboard for the note equivalentto the note ending the composition, and on top he will find the tonic major or minor chord corresponding thereto in the auxiliary keyboard. In the last high note of said chord, he will find the dominant major chord or minor chord; and in two half tones lower than the last note of the tonic chord, he will find the note oi: the major chord or minor chord of the sub-dominant;

A person who does not know music and who wishes to play by numbers can follow the same rule and he will be able to accom pany the composition he intends to play or .ing, or to accompany the melodies, that some other person may want to sing. The inexperienced player can choose the key he wishes, either higher or lower, because the note ending the composition will always give him the tonic chord of the melody.

As shown in Fig. 1., the white keys of the main keyboard are designa ed by reference letter K, and the black keys are designated by the reference letter K. The master keys of the auxiliary keyboard are arranged in four rows, said rows being located one above the other. In Fig. 1, the two rear rows have been hatched to indicate that they sound the corresponding major and minor chords of the ali ned black key. The two master keys associated with the corresponding black key are designated by -the reference letter M. Likewise, each of the white master keys I: has two associateu master keys M associated therewith. When these master keys M are depressed, they will produce the maj or dominant chord and the minor dominant chord corresponding to the aligned key K. Hence, when one of the master keys M or M is de pressed, it will cause tie playing of the note corresponding to the aligned master key (either black or white), together with the playing of two other notes which correspond to the desired chord.

As shown in Figs. 2, 13, 14 and 15, the master keys are of identical construction, save that their shanks are bent differently so that the said master keys are arranged in four rows oi? diilerent heights. This enables said master keys to clear each other so as to enable them to be conveniently operated.

Each master key has its shank passing through staples which are connected to boards 11 so as to pivotally mount the shanks of said master keys on said boards 11. Likewise, ea-ch master key is provided with three hammers H. Each key K or K is provided with a projection 12 which contacts with the hannner lever 14. The hammer levers 14 are mounted on pivots 15 connected to a lateral member 16 which is mounted on a felt base F. The shanks of the master keys pass through an opening in the front panel 17 of the piano case, said opening being provided with. felt pads F, so to deaden any undesirable noise.

Springs 18 are provided for holding the master keys in their upper or inoperative position. Each hammer lever 12 has an in verted ll-siiaped wire member 19 connected thereto, so that each hammer lever 14 can we depressed by hammers II striking directly against it, or by hammers I-I striking against the top of the extension 19.

In Fig. 1, a number of the keys K have been designated by reference numerals to indicate a plurality of octaves. For example, the first octave comprises the notes 1-1a inelusive, the second octave is represented by the numbers 1a7a inclusi e, and a portion of third octave is represented by the numbers 16-4?) inclusive. The black interm diate keys K of course represent the intermediate notes necessary to form chromatic scales.

For convenience, the black keys K have been designated 10-5120 inclusive. Considering for example, the keys designated s and 70, it can be seen that the key designated key has a pair 1' master keys M aligned therewith. Upon depressing the rear master key M, it can be seen that this will dopress the main keys designated 70, and 100. Upon depressing the other corresponding master key hi, it can be seen that this will cause the actuation of: 0, 5a and 100.

In Fig. 1, the only master keys illustrated are those which actuate the hammer levers 14, through their extensions 19. Hence in Fig. 1, the master keys which directly actuate the hammer levers 14, have their shanks indicated by dotted lines, as the same pass through the front panel 17. Hence, it is impossible to show the effect of operating the master k y M wnich are aligned with the main key 3a, in Fig. 1. However, this can he done in i 3 which illustrates the action of the keys whose hair iers directly contact with the hammer levers 14.

In Fig. 3, the master keys M corresponding to the white key 52!! will he considered. l/Vhen the rear master key M which is aligned with the main key 2a is depressed, then this causes the actuation of 2a, la, and 6a. When the front key M which is aligned with the main, key 20: is depressed, then this causes the actuation of 2a, 80 and 6a.

The action of the keys whose hammers operate upon the extensions 19 and the ham-- mer levers 1.9, is shown in detail in Figs. 542 inclusive. For examplqif the rear key M shown in Fig. 5 depressed, this causes the actuation of the main keys 70, 8c, and 100. This is shown more clearly than in Fig. 1. Fig. 5 likewise shows more clearly that if the front master key M shown therein, is depressed, that this causes the actuation of main keys 70, 5a, and 100.

7 shows that if the rear master key M corresponding to the main key is depressed, that this causes the actuation of the main keys 60, 3a, and 90. If the front master key M corresponding to the main key 60 is depressed, this causes the actuation of the main keys 60, 4a and 90.

Fig. 9 shows that if the rear master key M aligned with the main key 7 is depressed, that this causes the actuation of the main keys 7, 2a and 80. If the front master key M shown in Fig. is depressed, this causes the actuation or. the main keys 7, 7 c and 80.

As shown in 11, if the rear master key M which i aligned with the main white key 6 is depressed, then this causes the actuation. of the main keys 6, 1a and 3c. If the corresponding front master key M is depressed, then this causes the actuation of the main keys 6, 6c and 3a.

I h ave shown an auxiliary keyboard which enables the playing of certain simple chords, but fl do not wish o be limited to the specific embodiment disclosed, as the auxiliary keyboard could be enlarged to enable the playing of any additional chords desired. The simple chords mentioned herein are sufiicient to inake it possible for a person having little or no musical training, to play simple ccclesiastical music on an organ.

The keys could have markings thereon to identify each key according to my improved system.

While I prefer the use of numbers to designate the notes, in my improved system, I do not wish to exclude the use of other symbols having a natural sequence.

I have shown a preferred embodiment of my invention, but it is clear that numerous changes and or iissions could be made without departing from its spirit.

I claim:

1. A keyboard instrument having a row of main keys corresponding to the notes of a chromatic c, at least some of said keys having auxiliary keys associated therewith, and connecting means between said auxiliary keys and a plurality of said main keys where by the actuation of a single auxiliary key causes the sounding of a cord which includes the main key with which said. auxiliary key associated, said chord including at least three notes.

2. A keyboard instrument having a plurality of main keys which correspond to the full tones and half tones of a chromatic scale. each of said main keys having a pair of auxiliary keys associated therewith, and connecting means between said auxiliary keys and said main keys whereby the actuation of a single auxiliary key causes the sounding of a chord which includes the main key with which said auxiliary key is associated, said chord including at least three notes.

3. A keyboard instrument having a front panel and comprising a plurality of keys corresponding to the notes of a chromatic scale, hammer levers associated with said main keys so that the movement of said hammer levers causes the movement of a corresponding main key, said hammer levers having upward extensions by means of which said hammer levers may be operated, and auxiliary keys having hammers adapted to directly contact with said hammer levers and with said extensions, each said auxiliary key being associated with a main key, each said auxiliary key having a plurality of hammers adapted to cause the operation of a plurality of said hammer levers, to produce a chord which in cludes the main key with which said auxiliary key is associated, said hammer levers an hammers being located behind said front panel and said keys being located in front of said panel.

4c. A keyboard instrument having a plurality of main keys which correspond to the full tones and half tones of a chromatic scale, each of said main keys having a pair of auxiliary keys associated therewith, and connecting means between said auxiliary keys and said main keys whereby the actuation of a single auxiliary key causes the sounding of a chord which includes the main key with which said auxiliary key is associated, said chord including at least three notes, said auxiliary keys being arranged in rows located one behind the other, each row of said auxiliary keys being higher than the preceding row.

5. A keyboard instrument having a plurality of main keys which correspond to the full tones and half tones of a chromatic scale, each of said main keys having a pair of auxiliary keys associated therewith, and connecting means between said auxiliary keys and said main keys whereby the actuation of a single auxiliary key causes the sounding of a chord which includes the main key with which said auxiliary key is associated, said chord including at least three notes, said auxiliary keys being arranged in rows located one behind the other, each row of said auxiliary keys being higher than the preceding row, said connecting means being located behind the front panel of the instrument.

In testimony whereof I afiix my signature.

SATURNINO TOFE Y BONILLA. 

